Supergirl 2026 review: Milly Alcock creates sarcastic heroine who deviates from Superman’s tone
The film “Supergirl”, directed by Craig Gillespie, surprises by adopting a more melancholic and dark tone, moving away from the realism that has become common in superhero productions. This new addition to DC Studios’ reformulated canon breaks away from conventional narratives and the “straightforward” style associated with his cousin, Superman, played by David Corenswet, who makes occasional appearances in the plot.
Viewers who followed James Gunn’s “Superman” have already caught a glimpse of the hero’s sarcastic cousin, Kara, played by Milly Alcock, who appeared drunk and irritable at the end of the production. Her solo feature film follows her on trips to distant planets, seeking places with a red sun to neutralize her Kryptonian powers, allowing her to indulge in oblivion and drink.
It is not necessary to know Kara’s trajectory in depth to understand her sadness, although Ana Nogueira’s script reveals moving details in a central flashback. Both Kara and Clark are the only survivors of an annihilated planet, carrying the same deep pain of loss. However, Kara also harbors intense anger that she tries to repress, highlighting the internal conflicts of a character who strives to be a good person, a task that proves challenging.
Kara’s awakening in a new setting for Supergirl
Kara’s quest for kindness, a last wish of her mother’s, is constantly put to the test. When a fearless orphan, Ruthye (Eve Ridley), appears at a remote bar where Kara and her dog Krypto take refuge, intent on hunting down the intergalactic marauder Matthias Schoenaerts, known as Krem of the Yellow Hills, a new purpose emerges for the heroine. Ruthye’s mission doesn’t immediately inspire Kara, but it ignites a spark of interest.
That spark turns into flame when Krem, played by Schoenaerts, poisons Krypto and steals Kara’s spaceship, taking her Supergirl outfit with him. Kara and Ruthye then embark on an intense journey through a hostile and grotesque universe, where the influence of “Mad Max” becomes evident. With motorized bandits, a passion for modified vehicles and a group of stolen “Brides”, Gillespie’s film is more reminiscent of “Beyond Thunderdome” than “Guardians of the Galaxy”.
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Influences and visual style of the production of Supergirl
Despite the innovations, some familiar elements remain, such as the action scenes that highlight Kara’s speed in contrast to the slow movement of the others. Director Gillespie, similar to Gunn, incorporates eclectic music into the soundtrack, with choices that range from the artificial (like an acoustic version of “The Middle”) to the inspirational (like “Silver Lining”, by Rilo Kiley). However, the environments are distinct, including a decaying and dirty city reminiscent of a desolate “Blade Runner”, and an arid desert with a green sun that intensifies the otherworldly atmosphere.
The depth of the narrative and what it means to be good for Supergirl
Despite the relatively contained nature of the protagonists’ mission of personal revenge and the search for an antidote for Krypto, “Supergirl” still flirts with some clichés of the genre, such as the introduction of a beloved character from the comics. Fortunately, the only appearance of another notable DC figure is Lobo, played by Jason Momoa, who appears as a completely unbalanced being, helping the girls at key moments and providing the necessary but always unpredictable firepower on his space motorcycle.
The great difference of “Supergirl”, which may turn away fans looking for more of the same, lies in its intimate narrative and approach to deep issues. Kara and Ruthye’s journey is rarely lighthearted, delving into the darkest corners of the universe and its inhabitants. Although the fate of the universe is not at stake, the personal stakes are palpable. Milly Alcock, playing a character who could be seen as “unsympathetic”, manages to infuse Kara with a human dimension and extraordinary charisma, making her worthy of support.
As she fights to save Krypto, her last link to home, Kara is forced to confront something more complex: Ruthye’s essence and, consequently, her own. These questions, about what it means to be a superhero and, mainly, what it means to be good, are the central driving force of Gillespie’s film. It is hoped that future productions of “Supergirl” can be lighter and more fun, but maintain the depth and crucial question of this first feature film: what does it really mean to be good? The answer is not simple.
